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"The organizing principle for this anthology is the common Native American heritage of its authors; and yet that thread proves to be the most tenuous of all, as the experience of indigeneity differs radically for each of them. While many experience a centripetal pull toward a cohesive Indian experience, the indications throughout these essays lean toward a richer, more illustrative panorama of difference. What tends to bind them together are not cultural practices or spiritual attitudes per se, but rather circumstances that have no exclusive province in Indian country: that is, first and foremost, poverty, and its attendant symptoms of violence, substance abuse, and both physical and mental illness. . . . Education plays a critical role in such lives: many of the authors recall adoring school as young people, as it constituted a place of escape and a rare opportunity to thrive. . . . While many of the writers do return to their tribal communities after graduation, ideas about 'home' become more malleable and complicated."--from the Introduction I Am Where I Come From presents the autobiographies of thirteen Native American undergraduates and graduates of Dartmouth College, ten of them current and recent students. Twenty years ago, Cornell University Press published First Person, First Peoples: Native American College Graduates Tell Their Life Stories, also about the experiences of Native American students at Dartmouth College. I Am Where I Come From addresses similar themes and experiences, but it is very much a new book for a new generation of college students. Three of the essays from the earlier book are gathered into a section titled "Continuing Education," each followed by a shorter reflection from the author on his or her experience since writing the original essay. All three have changed jobs multiple times, returned to school for advanced degrees, started and increased their families, and, along the way, continuously revised and refined what it means to be Indian. The autobiographies contained in I Am Where I Come From explore issues of native identity, adjustment to the college environment, cultural and familial influences, and academic and career aspirations. The memoirs are notable for their eloquence and bravery.

Oliver Otis Howard thought he was a man of destiny. Chosen to lead the Freedmen's Bureau after the Civil War, the Union Army general was entrusted with the era's most crucial task: helping millions of former slaves claim the rights of citizens. He was energized by the belief that abolition and Reconstruction, the country's great struggles for liberty and equality, were God's plan for himself and the nation. To honor his righteous commitment to a new American freedom, Howard University was named for him.But as the nation's politics curdled in the 1870s, General Howard exiled himself from Washington, D.C., rejoined the army, and was sent across the continent to command forces in the Pacific Northwest. Shattered by Reconstruction's collapse, he assumed a new mission: forcing Native Americans to become Christian farmers on government reservations.Howard's plans for redemption in the West ran headlong into the resistance of Chief Joseph, a young Nez Perce leader in northeastern Oregon who refused to leave his ancestral land. Claiming equal rights for Native Americans, Joseph was determined to find his way to the center of American power and convince the government to acknowledge his people's humanity and capacity for citizenship. Although his words echoed the very ideas about liberty and equality that Howard had championed during Reconstruction, in the summer of 1877 the general and his troops ruthlessly pursued hundreds of Nez Perce families through the stark and unforgiving Northern Rockies. An odyssey and a tragedy, their devastating war transfixed the nation and immortalized Chief Joseph as a hero to generations of Americans.Recreating the Nez Perce War through the voices of its survivors, Daniel J. Sharfstein's visionary history of the West casts Howard's turn away from civil rights alongside the nation's rejection of racial equality and embrace of empire. The conflict becomes a pivotal struggle over who gets to claim the American dream: a battle of ideas about the meaning of freedom and equality, the mechanics of American power, and the limits of what the government can and should do for its people. The war that Howard and Joseph fought is one that Americans continue to fight today.

Chronicles is a major work, a collection of current, pressing and inspirational stories of Indigenous communities from the Canadian subarctic to the heart of Dine Bii Kaya, Navajo Nation. Chronicles is a book literally risen from the ashes—beginning in 2008 after her home burned to the ground—and collectively is an accounting of Winona’s personal path of recovery, finding strength and resilience in the writing itself as well as in her work. Long awaited, Chronicles is a labour of love, a tribute to those who have passed on and those yet to arrive.

While sitting in on hearings of the Truth and Reconciliation Commission in Victoria in 2012, Gary Geddes was moved by the testimony of a local Songhees woman who told of her mother’s mysterious seventeen-year incarceration as a patient at the Nanaimo Indian Hospital. It was a place Geddes knew little about, though he had lived in the southern Vancouver Island area for many years.
Haunted by the story, Geddes made contact with the Songhees woman, who turned out to be Joan Morris, a former nurse’s aide turned prominent advocate for survivors of the segregated Indian hospitals that operated throughout Canada during most of the last century.
With Morris’s encouragement, Geddes sets out on a lifechanging cross-country journey to record the stories of dozens of elders whose lives and health were permanently compromised by abuses they experienced at these shockingly substandard and underfunded facilities.
Written in a graceful and self-reflective style, Medicine Unbundled is both a devastating exposé of the troubled state of Indigenous health care in Canada and a hopeful testament to the power of truth and memory as a force for positive change.

Two-Spirit people, identified by many different tribally specific names and standings within their communities, have been living, loving, and creating art since time immemorial. It wasn’t until the 1970s, however, that contemporary queer Native literature gained any public notice. Even now, only a handful of books address it specifically, most notably the 1988 collection Living the Spirit: A Gay American Indian Anthology. Since that book’s publication twenty-three years ago, there has not been another collection published that focuses explicitly on the writing and art of Indigenous Two-Spirit and Queer people. This landmark collection strives to reflect the complexity of identities within Native Gay, Lesbian, Bisexual, Transgender, Queer, and Two-Spirit (GLBTQ2) communities. Gathering together the work of established writers and talented new voices, this anthology spans genres (fiction, nonfiction, poetry, and essay) and themes (memory, history, sexuality, indigeneity, friendship, family, love, and loss) and represents a watershed moment in Native American and Indigenous literatures, Queer studies, and the intersections between the two. Collaboratively, the pieces in Sovereign Erotics demonstrate not only the radical diversity among the voices of today’s Indigenous GLBTQ2 writers but also the beauty, strength, and resilience of Indigenous GLBTQ2 people in the twenty-first century. Contributors: Indira Allegra, Louise Esme Cruz, Paula Gunn Allen, Qwo-Li Driskill, Laura Furlan, Janice Gould, Carrie House, Daniel Heath Justice, Maurice Kenny, Michael Koby, M. Carmen Lane, Jaynie Lara, Chip Livingston, Luna Maia, Janet McAdams, Deborah Miranda, Daniel David Moses, D. M. O’Brien, Malea Powell, Cheryl Savageau, Kim Shuck, Sarah Tsigeyu Sharp, James Thomas Stevens, Dan Taulapapa McMullin, William Raymond Taylor, Joel Waters, and Craig Womack

Drama. Native American Studies. KEEPERS OF THE MORNING STAR is the first major anthology of Native women's contemporary theater bringing together works from established and new playwrights. This collection, representing a rich diversity of Native communities, showcases the exciting range of Native women's theater today from the dynamic fusion of storytelling, ceremony, music and dance to the bold experimentation of poetic stream of consciousness and Native agitprop.

Selected by American Indian Art Magazine as one of the 40 best publications on Native American Art in the last 40 years This book is a comprehensive guide to the identification of Antique Native American baskets, specifically basket making tribes of western North American. It is not a formal anthropology text, but rather an organized compendium of Native basketry information that blends previous anthropologic studies and the experience of the authors. The text defines how collectors, curators, dealers, auction personnel, and academics can systematically approach tribal identification of Native American basketry. It does this by clarifying the authors rational for tribal groupings based on basket types and not on language or other cultural traits. It explains multiple Native American basket making materials and techniques and describes how understanding this information can lead to accurate tribal attribution. This knowledge is essential in developing connoisseurship and will enhance an appreciation of this wonderful Native American art form."